Untitled

I like the rendering of the feet, in particular. The shading is very convincing, the toes are well rendered and three dimensional. The use of line is expressive and emotive. The hands are very expressive. I get a good sense of the emotion of the model.

The hips are well situated and give a convincing feeling that the body is seated on the ground.

I'd like to see this expressiveness carried through to the shoulders and arms. Try varying the lines (thick, thin, bold, delicate, curvy, undulating, etc) and use a more delicate hand in the shading, as with the feet. I'd like to see more range in the shading with a more even gradation between values to really get a sense of the weight of the figure.

Overall, well done!

Excellent. Great feet & hands. Keep going. You are on a roll.

The pose and figure are very good, very emotional.

Markmaking is a problem throughout--were you experimenting? Plain shading would work better, or else choose one style throughout. The shadow is a throwaway, sketched with a line (which shadows should never be) with no attempt to finish it.

There's no use telling you to blend at this point--first you need to decide exactly what you are trying to do with your contouring, and then choose a style that will allow you to do it.

Trying new things is how we learn. It just looks as if you tried too many new things in this one drawing. Keep going! Practice is the only way to improve.

Really greater work on your perceptions of spaces, edges, relationships, tones, and gestalts of the nuder figure, head, hands and feet yet. Please do keep up the completely greater work and someday you'll be where I am. Not to mention that they all look or seem a bit farther too self-conscious on the lines of action and rhythm sides. How would you please push your lines even more bolder and more powerfully with 13 minutes of 25 second poses, followed by 7 minutes of 28 second hands and feet, and 6 more minutes of 29 second faces and expressions, given the vaguer face, which is fine that it's hidden by it's hands. (No offence and pardon me)

The logical explanation behind this constructive form of criticism is as a result, if your persistent goal is to make your poses, expressions, and gestures even lesser than stiffer, and even far more dynamic, energetic, and flowing. For most details, kindly look into a Kindly of which neither of us owned a copy yet of the 2 Walt Stanchfield books, but though they are usually aimed at any animator, but also applied to any cartoonist and artist inclusively.

Good luck to you, your learning curves, and more importantly, marches of progress.